Shape changes. The shape of Chinese characters is a separate square, commonly known as a square character, so the shape change of creative fonts is most suitable for squares, rectangles, flat squares and oblique squares. Other different shapes may also be used as appropriate, but circles, diamonds and triangles violate the characteristics of square characters, are not easy to identify, and should generally be used with caution.
Fonts can be arranged horizontally or vertically, and can also be arranged in radial, wavy and other shapes, but no matter how they are arranged, they must be regular, otherwise they will make people feel messy and loose.
Stroke changes. The main objects of stroke change are dots, skimming, pinching, picking, hooking and other side strokes, and their changes are flexible and diverse. There are fewer changes in the horizontal and vertical of the main strokes, and generally only slight changes in the length and thickness of the strokes. Therefore, to master the changes in the strokes, the main thing is to pay attention to the changes in the secondary strokes.
In the change of strokes, we must also pay attention to certain laws and coordination, and cannot become too complicated or too much form, otherwise it will cause a variety of impressions of weakness and weakness, but it will make people feel bored and lose the meaning of font design.
Structural changes. Chinese characters are not the same in complexity and simplicity, it is not easy to match symmetry, in order to achieve beautiful unity of glyphs, you can consciously exaggerate, shrink or move the position of part of the strokes of the characters, change the center of gravity of the words, make the composition more compact, the glyphs more chic. This treatment must be appropriate, based on the principle of not losing the prototype of the word, otherwise it is not easy to identify people by adding or subtracting arbitrarily.
Creative font design can be summarized into the following categories according to different decoration, variations and artistic processing methods.
Outline the text with lines and leave blank spaces in the middle. It is suitable for song, bold, and various fonts. Extra-thick font outlines sometimes overlap, and in addition, the horizontal lines of the song body, such as maintaining a hollow shape, sometimes feel too thick, so the horizontal lines can maintain the original single-line shape.
Leaving gaps in the text of the line often produces different sensations depending on the thickness, number, position and difference of the line. However, it should be noted whether the inner line breaks the text into pieces, which affects the integrity of the font. In general, the interior line design is more suitable for thick fonts, and it is more difficult for thin strokes such as the horizontal lines of the Song script, so the thin strokes should be expressed in another way.
Cutting, shifting, decomposing, tearing or showing gaps in the strokes of the text so that it produces feelings such as fracture, fragmentation, insect moths, and roughness, which can often stimulate a great shock to the mind. But no matter what method is used, if there is no good font as a prototype, it will not produce good works.
Use the changes in dots or textures to produce fonts between virtual and real. This font design method can first outline the outline of the font, and then paste the paper with dots or textures to show the glyph, which is simple and convenient. Of course, it is also possible to draw points or lines directly on the text to produce the effect of virtual reality.
Like a wire bent to form a font, it is also called "a stroke into a word". This font design method has greater difficulty, and it is not easy to write a complex stroke of the word, so it is necessary to understand the simple method, omit the details, and maintain the original appearance of the glyph. In addition, attention should be paid to the direction of the lines, which should be natural and continuous, giving people a sense of fluency. Single fonts often use round black body as the prototype, and are often applied to the glyph representation of neon lights.
It is as if a ribbon of paper or cloth strips is twisted into a font. It is easier to represent the horizontal and vertical lines of the folded band font in a straight line: the performance of the slash line is relatively rich, which can strengthen the special effect of the folding belt, but it is more difficult for fonts with complex strokes. The folding strip font is characterized by the zigzag part, which shows the difference between the surface and the inner layer through the twisting and changing of the line, and brings a soft or hard feeling.
Strokes overlap each other or words overlap words. Overlapping designs often use extra-conventional fonts, so that the overlap between the first strokes is inevitable, and their order is properly organized according to the situation, so that they produce a strong artistic effect. In general, the back strokes overlap the front strokes, and the secondary strokes overlap the main strokes, or overlap each other. But don't overlap for the sake of overlap, just right.
The connection between words and words breaks the restrictions of square characters and recombines into a new form that is lively and beautiful, and the glyphs are coherent and unified. Without thinking about connecting in a straight line, it has a flat, monotonous feeling. When designing, you should choose connectable parts or common strokes, and conceive according to the content and characteristics of the text. Strokes can be long or short, and glyphs can be large or small, so that the font produces an impression of balance and symmetry, contrast and unity, full of rhythmic beauty.
First of all, in the square box to write out the prototype font such as Song font, bold body, etc., and draw 10 equal vertical and horizontal coordinate lines in the box, marked with codes; then, draw the box to be deformed, any shape can be, the box also draws 10 equal coordinate lines, marked with codes; finally, according to the position of the font in the square box, drawn in the deformation box, that is, to become the desired glyph.